The Cliché Crisis
by Stephen Cox | Posted August 03, 2011
I don’t know about you, but for me the worst thing about this year’s budget “crisis” was the gross overspending of clichés.
No, I’m not crying wolf. I am not holding America hostage. Neither am I rearranging deck chairs on the Titanic. Nor am I gleefully informing my close friends and colleagues that their favorite proposals will be dead on arrival when they hit my desk. Hopefully, I am acting more responsibly than anyone in the nation’s capital. I hold no brief for revenue enhancements (i.e., taxes), or for throwing grandma under the bus. I consider myself the adult in the room.
Nevertheless, I can’t claim that I cared very much about the budget emergency. I knew that I wouldn’t get what I wanted — even a small attempt to reform the federal government’s fiscal racket — so I couldn’t be disappointed by the spectacle that took place during the last week of July.
You can’t feel very bad because some Nigerian spam artist didn’t send you the $15 million he promised “in the name of God.” In the same way, you can’t feel very bad about the two political parties for failing to fulfill their promise and impart economic health to the country. But you can feel bad about how everyone with a microphone kept insisting, night and day, that we cannot keep kicking the can down the road.
An older cliché informs us that actions speak louder than words. I deny it. Often words speak much louder than actions. We all do a lot of impulsive things that don’t say much about who we usually are. But the words we carefully marshal to impress people in argument: those words are us. If not, what are they?
Here’s a way to measure a mind. Does it invent interesting means of saying things, or does it just repeat what others have been saying, thousands of times over? Does it use words, or do words use it? Is it working with words, or is it just . . . kicking the can down the road?
By this standard, nobody in Washington turned out to be very smart during the great budget embarrassment. Nobody said anything original or interesting. It was too much trouble. Take the cliché I just mentioned. The political geniuses thought about it for a while, then decided to picture themselves standing like idle boys on a country road, gazing balefully at a can that was begging to be kicked — and refusing, in an access of self-righteousness, to kick it. Dennis the Democrat was itching to give it a boot. So was Randy the Republican. But they controlled themselves. They did nothing — a very complicated nothing, but nothing nonetheless. Unfortunately, the can had a life of its own. It vaulted down the road and lodged in weeds from which it will be very hard to extract it.
Well, so much for that cliché. It didn’t work. But the horrible thing was that all these people thought they were being extraordinarily clever when they talked about the can.
This shows you what is so awful about clichés. They stay with us because people keep thinking that these are the words that make them clever. President Obama smiled at his cleverness when he urged Americans to sacrifice some never-specified largesse of the federal government. “Eat your peas,” he said, and smiled. He was being clever, he thought.
An older cliché informs us that actions speak louder than words. I deny it. Often words speak much louder than actions.
Today, it is considered very clever, when responding to some request for a serious opinion, to say, “It is what it is.” That’s what one of the Casey Anthony jurors said, when asked about the possibility that, although he voted “not guilty,” in the legal sense, Anthony might not have been “innocent,” in the moral sense. He wasn’t interested in reflecting on the question. “It is what it is,” he replied. Is that what John Galt meant to say when he suggested that A equals A? Or was the juror paraphrasing some dictum of Jean-Paul Sartre? In any case, I’ve heard that expression four times today, and it’s barely past noon. Last night, Sen. Mary Landrieu (D-LA), said in support of the budget compromise, the provisions of which she had not yet read, “it is what it is.”
Daring souls who venture beyond it is what it is have many other choices of clichés. One of them is to emphasize the idea that, no matter what idiotic decisions they make, they have done their due diligence, just by showing up. A whiff of legalese makes any choice legitimate. Sheer laziness, as we know, can always be justified as an abundance of caution, or a pious respect for what will emerge at the end of the day. At the end of the day the jury may reject the obvious and irrefutable evidence. At the end of the day the Republicans may (and probably will) sell out their voters. At the end of the day we’re all dead. Such things are, apparently, good, because they happen at the end of the day.
That’s a lax, supine, virtually inert locution. Somewhere toward the opposite end of the spectrum is a cliché as old, and as batty, as the House of Ussher. The expression is raves, as in “The New York Times raves.” Have you ever seen a movie trailer that didn’t use that cliché? It’s possible that the thing has become a self-reflexive joke among the producers of these silly ads — a reflection of their knowing superiority over the audience they are hired to manipulate. That’s us, the boobs in the theater — the mindless herd that is supposed to be taken in by the image of the newspaper of record screaming and frothing at the mouth. Of course, that’s what the Times actually does, every day, on almost every page; but why imply that there’s something special about its movie notices?
Speaking of clichéd images, how about the face of? This is another advertising cliché, closely related to poster boy for. Every time I turn to a cable news channel, I see the same old codger in the same ad for the same ambulance-chasing law firm, proclaiming, as if in answer to outraged objections, “I am not an actor. I am the face of mesothelioma.” Who could doubt it? And who could doubt that Casey Anthony is the face of jury imbecility? So what? I am the face of Word Watch. So, again, what? Advertising is intended to convince you to feel something extra about the obvious (or the nonexistent). That doesn’t mean that it’s clever.
Well, let’s escape. Let’s refuse to cast ourselves as the faces of anything other than ourselves. Let’s be individuals. But even then, clichés will pursue us. If we’re successful, we will probably be regarded as a breath of fresh air. And that’s not a good thing. The prevalence of this expression shows how easy it is to turn individualism into something quite the opposite.
Let me put it this way: have you ever met a breath of fresh air who wasn’t either a lunatic or a bore of Jurassic proportions? Or both? And no wonder, because the people who look for breaths of air are usually the stuffiest people around — the biggest conformists, dominators, and fools, in whatever group or institution you encounter them. In my experience, they tend to be people who think that Marxism is the newest idea in town. They are always people who welcome change because they’ve got theirs and know they will keep it, whatever damage their radical protégés may inflict on others. (Recall the late Senator Edward Moore Kennedy.) With the aid of progressive clichés, establishments maintain their existence.
Let’s escape. Let’s refuse to cast ourselves as the faces of anything other than ourselves. Let’s be individuals.
Here’s another one: “she [or he] is a very private person.” We hear that constantly. I heard it the other day on CNN, in reference to Huma Abedin, Hillary Clinton’s chief aide, and wife of the disgraced Congressman Weiner. The expression evokes the whole range of faux-individualist dogmas about privacy and the right to privacy (a cliché invented by a Supreme Court impatient with the stately and accurate language of individual rights provided by the constitution). The implication is that there’s something good about being “private,” meaning “sheltered,” as opposed to being a real person and not giving a damn what the rest of us think of you, or whether we think enough about you to want to take your picture. A sheltered person is someone who cares very much what you think about him, and what the picture looks like; therefore he becomes very private, until he thinks the camera may offer a flattering angle. The people acclaimed as private are almost always celebrities and politicians — creatures of the media, who then resent (or pretend to resent) the media’s incursions into their affairs. Private person is a particularly dangerous cliché, a cliché that distorts reality, a cliché that turns American values upside down.
Someone out there is counseling straightforward thieves and murderers to portray themselves as the compassionate Buddha. But why would you want to be the Buddha’s penpal?
The same kind of expression, though one that generally appeals to a different social group, is compassionate. A couple of years ago, when I was writing The Big House, my book about prisons, I looked at a lot of convict penpal sites. Almost without exception, the prisoners seeking correspondents described themselves as compassionate. Now, I’m not one to shy away from convicts. All the convicts and ex-convicts I interviewed treated me very well. I’m grateful to them. And I don’t think it’s the worst thing in the world to have a prison record. But compassionate shows all too clearly that the televised clichés of the middle class are seeping even into the prisons, polluting and corrupting everything they touch. Someone out there is counseling straightforward thieves and murderers to portray themselves as the compassionate Buddha. But why would you want to be the Buddha’s penpal?
One of the worst things about clichés is that they establish themselves as immortal statements of values. No matter how skewed the values are, the antiquity of the clichés attached to them implies that they are worthy of grave respect. This is a major problem with the insufferable clichés of the 1960s, which now, half a century years later, are reverently prescribed to hapless youth, as if they were the cadences of the Latin Vulgate. Hence the young denounce apathy, long to speak truth to power, idolize movements, embrace social justice, declare themselves for peace and global cooperation, commit themselves to the environment, the balance of nature, and (something quite different) change, and haven’t a clue that they are using the cunning vocabulary of the Old Left, c. 1935, and the birdbrain lingo of spirituality, c. 1900. Like a breath of fresh air, long-discredited phrases were transmitted by the Old Left to the New Left of the 1960s, to people (of the whom I am one of which) who had no idea that the words in their mouths had been put there by generations of silly old fuds. They (we) had no idea that even empty clichés can be repulsive and dangerous.
The other night I finally got a chance to see The Spanish Earth (1937), a famous movie that almost nobody who talks about it has ever seen. It was cowritten by the crypto-communist Lillian Hellman; Ernest Hemingway and John Dos Passos also participated (before they learned better). The film is a “documentary” about the Spanish Civil War, presented from the communist point of view, and it has about as much to do with the truth about that war as Triumph of the Will, from which it freely borrows, has to do with the truth about Hitler. I got a special kick out of the movie and its communist heroes constantly denouncing their enemies as rebels. Take that, you ring-in-the-nose college Marxist! You never realized it before, but the mission of the working class is to quell the rebels.
The most wonderful thing was the survival of so many wretchedly misleading political clichés, the kind of phrases that have soldiered on from Marx to Hellman to Rigoberta Menchú to the presidential aspirations of John Edwards and Barack Obama.
“Why do they fight?” the narrator asks about the Spanish people. Most of them didn’t fight, of course; and those who did took many sides, from Stalinist to anarcho-syndicalist. But never mind; a clichéd question deserves a clichéd answer: “They fight to be allowed to live as human beings.”
Human beings. How many times have we heard that, since? It’s an “argument” for every political program you can imagine.
“How ya doin’ today, Mr. Voter?”
“Uh, I dunno. Not so good, I guess. I think I’d feel more, like, more human if I owned a house. I’d feel more like I was living the American dream. Too bad I come from a working family.”
“But that’s good for you — very good indeed! Working families are the meaning of America. So how much do you make?”
“Well . . . nothin’, right now. I been on disability these past few years. Ya know, this acne’s really actin’ up . . .”
“No problem! That’s why there’s a government! No reason why you can’t get a loan. As a working man, it’s your right.”
“Damn! Really? Thanks, Congressman!”
“So, anything else I can do for you?”
“Well, uh, I guess I’d feel more human if I could retire at 60 . . .”
Most clichés aren’t deployed to answer questions; they’re meant to anesthetize them. So, if you say, in regard to The Spanish Earth, “Wait — I’m confused. Exactly who are these people who fight to be allowed to live as human beings?”, the film will tell you that they are “the men who were not trained in arms, who only wanted work and food.” These are the people who, we are told, “fight on.”
So at the end of the day, it’s the pacifists who inherit the earth — the pacifists who take up arms. Are you confused? I am. I’d like to know more about these people who are fighters because they don’t want to fight. But what I’m given is another cliché. I’m told that they are people who only want work and food.
Most clichés aren’t deployed to answer questions; they’re meant to anesthetize them.
It sounds good. Modesty is becoming. But one thinks of succeeding clichés, logically deduced from wanting only work and food: “It’s the economy, stupid.” “This election isabout one thing: putting America back to work.” “They work all day long, many of them scraping by, just to put food on the table. And . . . they see leaders who can't seem to come together and do what it takes to make lifejust a little bit better for ordinary Americans. They are offended by that. And they should be.”
That last remark is President Obama’s. The first remark is James Carville’s, back in the election of 1992. The one in the middle is sadly common at all times and everywhere, left, right, and center. Each remark suggests that ordinary Americans want only one thing — work and food. And that is why they vote the way they do.
Consider this the received wisdom, the grand cliché.
I’m offended by that. And ordinary Americans should be too.
Stephen Cox is editor of Liberty, and a professor of literature at the University of California San Diego. His recent books include The Big House: Image and Reality of the American Prison and American Christianity: The Continuing Revolution. Newly published is Culture and Liberty, a selection of works by Isabel Paterson.
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